That Was Perfect: Tim Burton’s “Ed Wood”

 

Copyright © 2010 by James Clark

      At the end of Fellini’s 8½, the protagonist/filmmaker, Guido, who has led us through a brilliant and harrowing crossfire of conflicting motives, declares a ceasefire. He redirects his energies to filmic presentation stemming from the new-found nonaggressive priority of finding in the whole spectrum of those around him points of affinity from which to derive exciting forward movement. The question left unconsidered by that launch party-become-wrap party for an abandoned film is: What kind of product can be built from a point of departure of such giddy inclusiveness?

    With his comedy/biopic, Ed Wood (1994), Tim Burton (along with writers, Scott Alexander and Larry Karaszewski) examines that loaded question. The retrospective brings into view its own wrap party, for a film completed by Ed, titled, Bride of the Atom. Whereas Guido’s event took for its venue an elaborate, high-budget set, featuring a rocket launch-pad, Ed’s little sci-fi shindig was held in a butcher’s locker with sides of beef and pork hanging all around (echoing the busload of dead meat at the outset of Fellini’s classic). And whereas for Guido the party becomes a commencement of fulsome respect and affection toward and from associates, for Ed, who had entertained his guests with an exotic dance number deploying his long-standing fondness for wearing women’s clothes, particularly angora sweaters (Guido’s only such weakness being idly twirling his girlfriend’s little purse in settling her into a hotel), it marks the end of his romantic and business attachment to “Dolores,” who interrupts her trying sweetheart’s revelry with, “You’re wasting your life making shit! This isn’t the real world! You’ve surrounded yourself with weirdoes! I need a normal life!” Guido’s wife, Louisa, who went on pretty much like this (though his philandering was the sticking point between them) is finally onside at their wrap party. Ed’s problems, however—with Dolores and everything else—won’t go away.

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30. Space Ghost Coast to Coast

(USA 1994-2004 12 Min Episodes)

Creator Michael Lazzo; Writers (10 episodes or more) Michael Lazzo, Matt Maiellaro, Dave Willis, Matt Harrigan, Evan Dorkin, Sarah Dyer, Andy Merrill, Pete Smith, Adam Reed, Matt Thompson, Jim Fortier; Voice Acting George Lowe (Space Ghost), C Martin Croker (Moltar), Andy Merrill (Zorak)

by Stephen Russell-Gebbett

Conan O’Brien: Well, Space Ghost, at the end of an interview, it’s traditional for the talk show host to say, “Thanks for being here, Conan. This was Conan O’Brien. Check out his show on NBC at 12:35.” You didn’t do that. You completely blew me off. For all these people know, my show is a cop show on, uh, Fox or something, thanks to you.

Space Ghost: Isn’t it?

Conan O’Brien: Where you goin’?

Space Ghost: The sand

Is Space Ghost for everyone? No, no, no. Space Ghost is not for everyone. Space Ghost is only for those who choose to watch and enjoy Space Ghost.

Tad Ghostal, former Hanna Barbera (Super)hero of 42 episodes in the late sixties, returns to our screens as an arrogant, irritable, disillusioned and quasi-moronic late-night talk show host. He brings with him grouchy sidekicks, ex-villain Zorak and lava-in-a-suit Moltar, and bewildered celebrity earthling guests (live-action) who commune with the intergalactic compère via a TV creakily winched from the ceiling.

Space Ghost’s questions, and the animated-world banter, are written after the actual interview so as to both maintain order or cooperation from the guest and to make the final product as funny, awkward and full of non sequiturs as possible.

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